AZUL SOTTILE
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AZUL SOTTILE
AZUL SOTTILE
Aesthetics of Devotion
Aesthetics of Devotion
Aesthetics of Devotion
In this series, I asked myself what happens when spirituality moves beyond institutional boundaries and becomes part of the visual and social fabric of everyday life. I became interested in the ways sacred gestures, symbols, and practices can be shared, adapted, or encountered outside their original traditions. These subtle exchanges made me think of spirituality as something less fixed, shaped instead through relationships between people, places, memories, and beliefs. In Aesthetics of Devotion, I document rituals and gestures in Sri Lanka that reveal complex relationships between the island’s four major religions: Buddhism, Hinduism, Islam, and Christianity.
In this series, I asked myself what happens when spirituality moves beyond institutional boundaries and becomes part of the visual and social fabric of everyday life. I became interested in the ways sacred gestures, symbols, and practices can be shared, adapted, or encountered outside their original traditions. These subtle exchanges made me think of spirituality as something less fixed, shaped instead through relationships between people, places, memories, and beliefs. In Aesthetics of Devotion, I document rituals and gestures in Sri Lanka that reveal complex relationships between the island’s four major religions: Buddhism, Hinduism, Islam, and Christianity.
In this series, I asked myself what happens when spirituality moves beyond institutional boundaries and becomes part of the visual and social fabric of everyday life. I became interested in the ways sacred gestures, symbols, and practices can be shared, adapted, or encountered outside their original traditions. These subtle exchanges made me think of spirituality as something less fixed, shaped instead through relationships between people, places, memories, and beliefs. In Aesthetics of Devotion, I document rituals and gestures in Sri Lanka that reveal complex relationships between the island’s four major religions: Buddhism, Hinduism, Islam, and Christianity.
In this series, I asked myself what happens when spirituality moves beyond institutional boundaries and becomes part of the visual and social fabric of everyday life. I became interested in the ways sacred gestures, symbols, and practices can be shared, adapted, or encountered outside their original traditions. These subtle exchanges made me think of spirituality as something less fixed, shaped instead through relationships between people, places, memories, and beliefs. In Aesthetics of Devotion, I document rituals and gestures in Sri Lanka that reveal complex relationships between the island’s four major religions: Buddhism, Hinduism, Islam, and Christianity.
In Aesthetics of Devotion, I document rituals and gestures in Sri Lanka that reveal complex relationships between the island’s four major religions: Buddhism, Hinduism, Islam, and Christianity. What fascinated me was not only their coexistence, but the way symbols, practices, and gestures intertwine, creating a shared visual and cultural language. I observed how identity, memory, and a sense of belonging emerge through these connections, giving rise to an experience of the self that is multiple, relational, and non-exclusive. Here, religion appears not only as a form of devotion, but also as a shared social and cultural ecosystem. Although each tradition retains its particularities, their symbols, spaces, and practices constantly intersect, generating common aesthetic rhythms.
Acts such as praying to deities outside one’s own tradition or placing. sacred images in trees appear across different religious contexts, revealing a spirituality often shaped by coexistence rather tha division.
The series observes how these interconnected practices, symbols, and spaces shape an inclusive notion of belonging, in which identities are constructed through continuous relationships and encounters.
In Aesthetics of Devotion, I document rituals and gestures in Sri Lanka that reveal complex relationships between the island’s four major religions: Buddhism, Hinduism, Islam, and Christianity. What fascinated me was not only their coexistence, but the way symbols, practices, and gestures intertwine, creating a shared visual and cultural language. I observed how identity, memory, and a sense of belonging emerge through these connections, giving rise to an experience of the self that is multiple, relational, and non-exclusive. Here, religion appears not only as a form of devotion, but also as a shared social and cultural ecosystem. Although each tradition retains its particularities, their symbols, spaces, and practices constantly intersect, generating common aesthetic rhythms.
Acts such as praying to deities outside one’s own tradition or placing. sacred images in trees appear across different religious contexts, revealing a spirituality often shaped by coexistence rather tha division.
The series observes how these interconnected practices, symbols, and spaces shape an inclusive notion of belonging, in which identities are constructed through continuous relationships and encounters.